This article examines the construal of colour symbolism in the indigenous culture of the Yoruba people. The article assessed colour sources, indigenous values, importance and its classification in the Yoruba indigenous milieu. The crust of this article is established on colour in the idiom of Yoruba philosophy. The appraisal finally focused on the Yoruba aesthetics, values, religion and colour healing therapy using descriptive method in achieving the objectives. It was observed that foreign language, technology and religion poses treats to Yoruba colour culture. It concluded that colour and its associate in the Yoruba philosophy is fast disappearing because of lack of tenet theories on colours through which Yoruba colour identity could be preserved. Therefore, there is need for revisiting and reviving theories of colour representation in Yoruba worldview for posterity.

In Ghana, music as a formal subject of study occupies the periphery of the curriculum. While a number of reasons account for this, the article highlights the one which has eluded the radar as far as Ghanaian music education scholarship is concerned. This reason is that music has not been given adequate exposure in terms of official policy on education in Ghana, to prove its worth. Based on the mere exposure theory, the article reviewed the major provisions for various educational reforms/ordinances passed for basic schools in Ghana from 1852 to 2007 and focused on the place of music in each of them. The study revealed that since 1852 (when the first educational ordinance was passed under a colonial government in the then Gold Coast) up to 1959, there was no official policy on music education in the basic school curriculum in Ghana. Music was introduced in 1987 as part of the Cultural Studies Syllabus. It was made to stand on its own as a subject  in 1994, but the syllabus for the programme was not ready until 1998. Nine years after in the introduction of this syllabus however, music lost the status of being a single subject in the basic schools as it was made a part of the horizontal interdisciplinary integrated curriculum of Creative Arts.

Images on Asafo flags are normally allegoric representation of proverbs, metaphors, maxims and traditions associated with the cultures of the Akans. This study employed descriptive and analytical methods. An inquiry discovery, oral interviews and questionnaires were employed to bring to bear some of the hidden Asafo flags and their philosophical representations. It was revealed that most of the youths did not associate themselves with the Asafo groups because of religious beliefs they lack the philosophical meanings of most of the symbols used in the various Asafo flags. This has negatively affected the sustenance, promotion, and transmission of Asafo activities from one generation to another making the youths of today lack various ethics, cultural values of our societies. It has therefore become imperative now to explore into the philosophical interpretations of Asafo flags for documentation and referencing.

The overall purpose of this paper is to explore the linguistic contributions of hip-hop music to the Nigerian multilingual society. This objective is informed by what appears to be a stereotyped notion that hip-hop music is all about the use of profane and taboo language. In an attempt to prove such negative ideas about hip-hop wrong, such lead questions as what the linguistic resources that constitute this emergent sociolect in Nigeria are; their sources of vocabulary, vocabulary patterns as well as evidence of lexical innovations it has brought to Nigerian linguistic society are tackled. Employing Exploratory Interview theory and qualitative research approach aimed at collecting data to unravel these linguistic issues, the researcher interacts and elicits information from varied stakeholders in the hip-hop music. Qualitatively, the researcher visited the promoters and fans of hip-hop  in Sabon Gari area of Kano, Nigeria to ascertain orally the varied meanings in the lyrics. The music albums of the current top thirteen Nigerian hip-hop stars were studied as representative samples. It is concluded that besides being a huge source of lexical innovation and a vehicle for showcasing the nation’s linguistic repertoire to the outside world, youth language in Nigerian hiphop, now serves as a bridge that hybridises virtually all the languages spoken in Nigeria.

Traditional musical instruments have been handed down from generation to generation although in most instances there has been a change in its development and production. Sculptors, over the years have played a very vital role in the making of such musical instruments. For someone to be able to make a music instrument, the person needs to have an idea about the material and its characteristics. This article establishes the link between traditional musical instruments and the sculptor as a depository of indigenous knowledge systems in music. Through qualitative research approach, it employed descriptive research design and aesthetic analysis as for the processes used in the making of some of the traditional musical instruments; and the symbolic meaning of material content in describing these music instruments for indigenous knowledge systems respectively. Data were collected through face-to-face interview and observation. Sculptors, specifically carvers, in the production of traditional musical instruments and music artiste from the music fraternity were purposively sampled. It was observed that beliefs and practices of Africa were seen as richest cultural systems, which were practised through the arts with traditional musical instruments. It recommended that traditional musical instruments should be seen as an important artifact. Particularly, its material compositions from an artistic point of view, serve as an indigenous knowledge system by providing artists and the users with mastery of cultural identity and edification.